Tonight We Dance

Raw, in fact, is a good way to describe much of this album. Likely a result of the self-production, it feels very real and close to who Frank truly is – especially on the gentle penultimate track, “Somewhere Inbetween”, another song which seems to reference the perception people on the outside have of him

Variously embracing fado, jazzy whiskey-bar blues and tensile, grandiose strings, “All Quiet On The Eastern Esplanade” is easily The Libertines’ most expansive and ambitious record.

“The Night the Zombies Came” isn’t an album for the uninspired or your average Joe – it’s a bible for the daydreaming visionary who finds beauty in the mundane.

Five Dices, All Three is more than a body of music, it is a declaration of wisdom and creative expression with the type of artistry that leaves the listeners with revelations or suspicions of the world around them.

Feeder are still more than capable of springing a surprise – lord alone knows what odds you’d have got on the poignant “Soldiers of Love” sporting a bagpipes intro, 30 years after they first blasted out of South Wales.

It’s wonderful to find so many moreish layers in music that was, apparently, composed so quickly. Grab yourself a bean bag and settle in for the long haul with this one.

Each note feels necessary, each word feels heartfelt – in chipping away at the excess to reveal these personal snapshots, Maggie Rogers has unlocked something very special indeed.

When Only God Was Above Us isn’t shattering glass ceilings, it’s delivering some of the most beautiful but disquieting indie-rock in recent memory.

The playing here is terrific and as good as, if not better than, anything on De Stijl, Elephant and Icky Thump; the writing is locked in and the production sounds as consistent as anything he’s ever manned. Throughout the 43 minute-runtime of No Name, Jack White sounds like everything you need him to be.

Another beautiful slice of country-tinged magic that never descends into nostalgia.